By George A. Reisch, Gary L. Hardcastle
Well known curiosity in bullshit — and its close to relative, truthiness — is at an all-time excessive, however the topic has a wealthy philosophical heritage, with Hobbes, Locke, Hume, and Kant all weighing in at the topic. right here, modern philosophers consider bullshit from epistemological, moral, metaphysical, historic, and political issues of view. Tackling questions together with what's bullshit, what does it do, is it a passing fad, and will it ever be eradicated, the e-book is a advisor and source for the various who locate bullshit worthy considering.
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Extra resources for Bullshit and Philosophy: Guaranteed to Get Perfect Results Every Time (Popular Culture and Philosophy)
16 When the couple was married in 1921, Elza was working as a publicist for Sid Grauman and another legendary theater owner, Thomas L. Tally. The latter was noted for the advertising of the musical accompaniment for his ﬁlm presentations, “Come and see Tally’s Giant Organ,” and for refusing to raise his admission prices above ten cents, because ten cents was all that movies 43 44 T HE P I ON E E R I N G WR I T E R S were worth. Elza’s income was $100 a week, while that of her new husband was just $40.
Q U I RK AN D P H O TO P L AY and general manager. Staff changed routinely. In July 1912, Edwin J. Ryan was managing editor and a month later the New York manager. In September 1912, A. H. McLaughlin was publisher and Ryan advertising manager. In July 1913, J. E. H. Bradley was listed as president, C. W. Grifﬁn as secretary-treasurer, and Kenneth G. Cloud as manager. The copyright was in Cloud’s name. A. W. Thomas was editor in December 1913, and in November 1914 August Cary was editor. The contents remained constant with story adaptations predominating, along with an occasional article, a poor one-page “Answer to Inquiries,” which was no competition to Motion Picture Story Magazine’s “The Answer Man” column, and a popular players contest.
Her monthly income in the mid 1920s was in excess of $500, more than many lesser players and character actors under studio contract would receive. Among the pseudonyms she is known to have used are Caroline Bell, TH E P I O N E E RI NG W RI TE RS 39 Myrtle Gebhart visits Ricardo Cortez on location for The Pony Express (1925). John Addison Elliott, Doris Irving, Barbara Little, Martha Marsden, Betty Morris, Helen Ogden, and A. 14 Gebhart also edited WASP Whisperings, the publication of the Women’s Association of Screen Publicists, and ghostwrote Dorothy Reid’s “Memoirs of Wallace Reid,” published in Picture-Play.
Bullshit and Philosophy: Guaranteed to Get Perfect Results Every Time (Popular Culture and Philosophy) by George A. Reisch, Gary L. Hardcastle